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'Shopgirl' brings contemporary style to a familiar tale

Like an expensive vintage dress, "Shopgirl" evokes both another era and the latest style — although the frayed edges sometimes show.

The movie has an old-Hollywood, Ernst Lubitsch-like touch of aching poignancy. Even the heroine's name, Mirabelle Butterfield, sounds like a character from that director's 1940 classic "The Shop Around the Corner." Yet the story, written by comedian-turned-author Steve Martin, tells the present-day tale of a lonely but hopeful young woman adrift in Los Angeles.

Touchstone Pictures 'Shopgirl' B The verdict: Claire Danes shines in an old-fashioned romance with 21st century sensibilities. Director: Anand Tucker Starring: Claire Danes, Jason Schwartzman, Steve Martin, Frances Conroy, Sam Bottoms Run time: 104 minutes Release date: Oct. 21, 2005 Rating: R for some sexual content and brief language. See showtimes On the web Official movie site View the trailer    Trailers require Quicktime Rate 'Shopgirl'   Go see it   Make it a matinee   Wait to rent   Don't bother Voter Limit: Once per Hour View Poll Results

Mirabelle (Claire Danes) works in the ladies glove department at Saks, selling subtly exquisite merchandise appreciated by a diminishing but discriminating clique of consumers. The position mirrors Mirabelle's existence as an underappreciated figure of quiet, ethereal loveliness in a world that values glitz and overt sexuality (as exemplified by the store's makeup maven, Lisa, played with gutsy gusto by Bridgette Wilson-Sampras).

Having moved from Vermont to fulfill a vague artistic dream, Mirabelle dabbles at painting in her college-girl-like apartment at night but seems chained to her increasingly isolated existence.

Danes is luminous in a performance that finally lives up to the promise she has shown for years. One minute plain and awkward, the next stunningly sensuous, her Mirabelle is transformed by the love she seeks — and finds in herself.

At the laundromat, she meets Jeremy (Jason Schwartzman), a slacker-goof who looks and acts like the "wrong door" in the "Mystery Date" game. He works as an "artist" stenciler, painting logos on rock stars' amplifiers. Still, he has a cute crudeness that has an appeal — especially in light of Mirabelle's increasing desolation.

After a depressing date with Jeremy that ends with an equally disappointing sexual encounter, Mirabelle is swept off her feet by a mysterious stranger, Ray Porter (Martin), who turns out to be much older, much, much wealthier, but not any wiser than Jeremy.

With the poise and confidence that comes from deep pockets and advanced age, Ray exudes the very certitude that eludes Mirabelle. She gravitates to his warm, gentlemanly demeanor and seeks shelter in his seemingly secure embrace.

She ignites his protective, paternal instincts as much as his libido. Their romance is more "Father Knows Best" than "Lolita." He pays off her school loans and buys her pretty dresses, which she models just like daddy's little girl. But Ray's kindness masks an emptiness Mirabelle can't reach.

In a scene of misunderstood gender communication reminiscent of the one from "Annie Hall," Ray tells his shrink that he's let Mirabelle know that he doesn't want serious attachment because of heavy travel. Simultaneously, she's telling her girlfriends that Ray is trying to cut down on the travel that keeps them apart.

Meanwhile, Schwartzman supplies comic relief as Jeremy morphs from geeky caterpillar into sensitivity-trained butterfly. On the road with a band he's selling amps to, he listens to a series of self-help tapes which he parrots in phone calls to Mirabelle. But when the tapes and his journey suddenly turn him from boy to man, it is a too quickly contrived transformation.

Martin's Ray is the true boy who refuses to grow up — the kind of man women write to Cosmo about. While he's not a cad or a creep, he still can't deliver the goods: himself. Truly caring and gallant, he showers women with gifts and romantic encounters that are interpreted as tokens of love — while he sees them as bargaining chips.

Martin, who adapted the screenplay from his novella, has tacked on unnecessary narration which comes and goes annoyingly. Still, he's turned his little jewel of a novel into a flawed but captivating gem.